What Bob Dylan Wanted at Twenty-three
During the song’s crescendo, Joel sings: “Slow down you crazy child / Take the phone off the hook and disappear for a while / It’s alright you can afford to lose a day or two.” Good advice in 1977, maybe, but not entirely possible in 2024.
“That’s this really romantic thought, because you can’t really do that nowadays,” Keaton said. “You can turn yo... See more
“That’s this really romantic thought, because you can’t really do that nowadays,” Keaton said. “You can turn yo... See more
Alaina Demopoulos • ‘No One Understands a Woman in Her 20s Like Billy Joel’: Gen Z Finds Solace in Anti-Hustle Anthem Vienna
his work is primarily arranged into three discernible periods—his early or harmonic period, his middle or modal period, his late or experimental period—to distinguish and weigh the significance of each.
Leonard Brown • John Coltrane and Black America's Quest for Freedom: Spirituality and the Music
Jimmy produced Beggars Banquet, Let It Bleed, Sticky Fingers—every Stones record through Goats Head Soup in 1973, the backbone stuff. But the best thing we ever did with Jimmy Miller was “Jumpin’ Jack Flash.” That song and “Street Fighting Man” came out of the very first sessions with Jimmy at Olympic Studios for what would become Beggars Banquet,
... See moreKeith Richards • Life
In 1964, on a folk tour around England, Bob Dylan considered quitting.
He said,
“I play these concerts, and I ask myself: ‘Would you come see me tonight?’ and I have to truthfully say: ‘No, I wouldn’t come...'"
Burnt out and ready to quit playing music, Dylan asked himself,… Show more
For his first 6 years of trying to be a songwriter, Paul Simon wrote terrible songs. “They were all terrible,” his biographer Robert Hilburn said, “I found his old demos—there’s about 50 of them—and it’s unbelievable: there isn’t one good song.” Finally, in the fall of 1963, Simon made a vow: After spending those first 6 years mostly “copying what
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